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By John T. Partington

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Extra resources for Making Music

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I was heavily into jazz at that time-he was a jazz teacher. Problematic Teaching Violin A You can teach history, style, harmony, counterpoint, and technique, but inspiration can't be taught. You have to learn to be inspired yourself, or be inspired by the music. There is no such thing as an inspira- BACKGROUND AND CAREER DEVELOPMENT 39 tion course. Inspiration is not simply love for the music. Even though you love the music, you can remain earthbound as a performer. It is not a stepby-step procedure to become an artist.

When you are younger they are very difficult to sell, to understand what you are supposed to try to say. In Mozart it's a blank page. You've got to put the colours in yoursel£ You have to be more mature musically to be able to do that. The first few times you do a piece, you are just trying to get through it. But the more familiar you get with it, the more you find in it. It's just like looking at a painting. Each time you look at it, the more you see. Unfortunately, for some pieces you have a prejudice built in from your music history class that gives you a mental block against seeing any emotion in it.

But I'm afraid most students, except the exceptional one, would find it a waste of time. They are at a stage when for them, the most important thing is mastery of the instrument. Really getting their chops together. I think that is a characteristic more prevalent in North America in the training of young people. It is a technically oriented training to become a virtuoso. If there is nothing 40 MAKING MUSIC that poses a technical problem for you, then you are a success. On the other hand, in Europe and especially in England, the training is a little bit the other way around.

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